“Props,” which comes from the word “property,” refers to objects used by characters in a stage play or musical, film or TV show. If a character drinks from a coffee mug, the mug is a prop. If they pull a knife on someone, the knife is a prop. If a character is eating an ice cream cone, the ice cream cone is a specific kind of prop, aptly called a “food prop.” Here, as you may have guessed, I’m going to use the word “prop” to refer to objects used by characters in a novel.
Props in a novel don’t usually need the same attention as props on a stage or production set. There doesn’t need to be a prop team, prop department, prop table, or prop room. Certainly, no one needs to cook or prepare the food props. Nevertheless, props do need attention from authors and editors.
Here are some guidelines, which will be elaborated on throughout this post, that may help when writing props into your story:
If an object is picked up, it needs to be put down.
Dangerous, perishable, or easily damaged items need to either cause problems or be taken care of.
Mobility aids are props, not accessories, and we need to know where they are at all times.
Consider what the props can say about the characters, the story, and the world in which the story takes place.
Too much description of props can distract or bore the reader. And raise the price of printing!
Consider writing a prop list before sending your manuscript to a line editor.
When utilized well, props can engage readers and move your story forward. This blog post should help you give them the attention they need to tell the story you want to tell.
If an object is picked up, it needs to be put down.
Many readers, myself included, see the story play out like a movie in their head while they read. If a character picks up a pencil, they will visualize the character holding the pencil until the narration says they put it down. If the author forgets to mention they put it down, it may cause some strange visuals in the readers’ minds if the character is using their hands for an activity where a pencil in their hand would get in the way. .
If the character is having to use both hands to diffuse a bomb, are they still holding the pencil? Or did they put it in their pocket, or behind their ear? If the narration doesn’t say, the reader may be taken out of the scene because of the unanswered questions and the logistics of the situation. The reader will be distracted and less engaged in the story’s action, which is the last thing an author wants.
In moments like these, it’s best to use the object to show something about the character in this moment. Perhaps they put the pencil between their teeth, biting down on it harder and harder as the timer on the bomb ticks closer to zero until the wooden pencil splinters under their teeth.
If there are a number of objects the character is picking up in turn, however, it’s not necessary to interrupt dialogue or narration to indicate when each item is picked up and put down. In this case, it’s best to say that the character mulled over the array of items, picking up and replacing each one in turn. This way, the reader understands what’s happening without being distracted from the most relevant aspects of the scene.
Dangerous, perishable, or easily damaged items need to either cause problems or be taken care of.
It’s one thing if the object in question is a pencil. There is a limit to the damage a pencil can do if it is dropped or left alone somewhere. A lit cigarette, however, can cause a forest fire in the right circumstances, if it’s not put out.
Dangerous, perishable, or easily damaged items can’t be forgotten. If a bomb is lit or activated, it needs to explode or be put out. If a carton of milk is left on the counter, someone needs to put it back in the fridge, drink it, or it needs to spoil and stink up the house.
Say a character picks up a teacup and is sipping away at their tea, chatting with their guest. Then the character punches their guest in the face and they fight. Where did the teacup go? Surely the character is not still holding it? Did it smash onto the floor? Is there broken ceramic on the floor where the characters are scuffling with one another? If so, surely the characters are bleeding and may need stitches? But the narrative doesn’t say! What’s going on?
This sort of situation can be really concerning for the reader and raise all sorts of questions in their minds, such as the ones I just listed. Have the character use the cup to show who they are, what their emotional state is, and contribute to the action. Does the character carefully set down the teacup, dab their mouth with a napkin, glide over to their guest and punch them in the face? Or do they throw the teacup at their guest’s head, launch themself across the table, sending porcelain and cucumber sandwiches flying, and start choking out their enemy?
Mobility aids are props, not accessories, and we need to know where they are at all times.
Many readers, especially disabled readers, will want to know where a mobility device is at all times because they know the significance of it to a character’s quality of life. I’ve written a whole blog post on the subject of canes, specifically. All mobility aids, however, deserve the same attention and care.
Mobility aids are not accessories and are not to be treated lightly. Walking sticks may be fashion statements with novelty handles in various designs, but mobility aids, such as canes, are much more. They are practically a part of their user’s body, when in use. Their primary purpose, as the name suggests, is to aid the user’s mobility. They have incredible importance to the character using them, and therefore are also important to the reader.
Here are a few things to keep in mind regarding mobility aids:
First, the reader must know the location of a mobility aid if it is in use. An example is if a cane user starts using both their hands for something, be sure to write where they put their cane and mention when they pick their cane back up. Another example is if a wheelchair user transfers themselves or is transferred to a bed or couch, make sure the reader knows where their wheelchair is and if it’s in reach of the user.
Secondly, pay attention to anything in your story that may damage your character’s mobility aid or make it difficult to manage. These circumstances range from muddy paths to stormy weather to explosions. If your character is in a historical or fantasy story and their wheelchair or “wheeled chair” is made of wicker, it’s pretty fragile and may only be functional on relatively smooth surfaces. If it’s left out in the rain, it may be difficult or even impossible to use and may need repairs or to be replaced altogether.
Thirdly, mobility aids may need special care and cleaning to function properly. Be sure to learn about the proper care of a given mobility aid and mention it in the text where appropriate.
Consider what the props can say about the characters, the story, and the world in which the story takes place.
As stated earlier, props can show who your characters are, their emotional states, and contribute to the action of the narrative. They can also be goals to obtain or obstacles for the characters to overcome throughout the story. And they can establish a lot of the worldbuilding for you!
How characters treat props says a lot about them. Does your character have nervous habits or “stims”? These can include shaking their iced coffee, clicking a pen, or tapping a rhythm on the book they’re holding. Do they treat the objects around them carelessly or violently? There could be items strewn across their desk or the remains of an inkwell smashed against a wall that they haven’t bothered to clean up. Are they always unnaturally clean and controlled? Perhaps they always set their drink on a coaster at home, are careful to dab their mouth with a napkin at dinner, and have very few items on display at home so the surfaces are easier to dust.
Objects can be goals to obtain for characters, like a necklace they want to steal or a trophy they want to win. Objects can also be obstacles or even weapons, like a toy a parent trips over, a bottle of poison to be hidden away, or a chair that’s thrown in a fight. The more relevant a prop is to the story, the more description and overall attention the reader will need for it. After all, if the characters spend half the book trying to steal a necklace, the necklace had better sound cool enough to steal, right?
Props are a great way to introduce readers to a different world. One of the reasons people read fantasy, science fiction, and historical fiction is to escape into a world different from our own today. Props ground them in that new reality they’re reading about.
Show what your characters use on a daily basis to survive, succeed, or communicate. How does your character acquire food? Do they push a button and it appears, or do they have to hunt or grow it themselves? How do they communicate long-distance? Is it some fancy sci-fi communication system with holograms or lasers? Or letters written on parchment and carried by messenger?
If a character has a signature weapon they use constantly and that was perhaps passed down to them, like a sword or a bow, be sure to describe what it looks like and how it’s used! Different types of swords or bows will be used differently.
Too much description of props can distract or bore the reader. And raise the price of printing!
In the Victorian era, authors like Charles Dickens were paid by the word. In order to bring in a higher paycheck, they would spend more time describing landscapes, room layout, furniture, and, of course, props. Today, the more words, the more expensive a book is to print. Authors have adjusted their manuscript lengths and styles in order for their work to be accepted by the changed methods of the publishing industry.
Readers adjusted to this change, too. Contemporary readers have become accustomed to shorter descriptions and faster-moving plots. If an author spends a lot of time describing a prop that is barely relevant to the story, if at all, readers will become bored and put the book down.
While a prop can say a lot about the world or the characters, too much description can distract from the actual story and what it’s about. Atmospheric books may get away with more descriptions because the aesthetic may be the draw for their target readers. For most books, especially those with high stakes, it’s best to keep descriptions to only what’s relevant. Is the exact pattern on the teacup all that relevant? If it’s the key to solving a murder, sure. But if it’s just a teacup, then no.
Publishers also want fewer words from their authors. Self-published authors, who pay out-of-pocket to publish their book themselves, will want to keep costs as low as possible while still telling the story they envisioned.
This is why only what is essential to telling the story should be kept in the manuscript. If a prop is described in detail, that detail should be relevant to the story, plot, or characters. If it’s not, leave it out! Your publisher or bank account will be happier for it.
Consider writing a prop list before sending your manuscript to a line editor.
A prop list may be useful for an author to keep track of the different props in their manuscript, where they are and what condition they’re in, when. This may not be needed for every author. It can, however, be extremely helpful, especially for stories where characters are on-the-move and need to carry a variety of items with them for survival and protection.
A prop list, as it sounds, is a list of the props used in order of appearance. In a two-act stage play, this would be written up in a spreadsheet and broken down by act and by scene. It would list what each prop is, what characters handle the prop, especially who brings it on and offstage, and any further information needed.
Prop lists are not made until a play has gone through many edits, rewrites, and readings. They are usually for full productions with full sets and costumes. If you’re only on your first draft, don’t worry about a prop list. After the story is more solid, then you can go back through your novel and make a prop list, adjusting the manuscript and the prop list itself as you go to catch any major issues with props. This can be done prior to a developmental edit. At the latest, I recommend creating a prop list before sending your book to a line editor.
For a manuscript, the prop list can be broken down by chapter and by scene. For authors who find the idea of this overwhelming, it might be more useful to only use it for scenes where there are a lot of props being passed around and utilized.
A prop list will ensure that no props just disappear, remain in a characters’ hands for too long, or otherwise maintain narrative consistency.
Line editors should also keep an eye out for any issues with props. Be sure to discuss this with your line editor and share your prop list with them if you have one. Keep in mind that some line editors pay more attention to props than others.
Conclusion:
Props can be easily forgotten in the writing process. There are so many important aspects of the narrative to focus on, like plot, character, and theme, that props can feel like less of a priority. They do, however, contribute to the overall narrative and deserve attention, even if not right away.
The tips above should help you avoid some of the pitfalls authors can fall into regarding props. If you are interested in hiring me as a line editor, and your manuscript has already been put through a developmental edit by a professional editor, you can email me at JacksonDHollingsworth@gmail.com .
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